Tag Archives: Charles R. Rees

McClave & Merritt

1854                385 Broadway, New York, New York.

McClave & Merritt (James McClave, Jr. & John D. Merritt) were recorded in nine advertisements in The New York Herald (New York, New York).  The first appeared on September 12, 1854.

Rees & Co., 25 Cent Daguerreotype Company, 385 Broadway.—This company, established under the above name, will be conducted hereafter under the [head] of McClave & Merritt, the original partners from [the commencement.]  The business will be conducted the same as usual, the whole company remaining with the exception of C. Rees, whose interest in this gallery has been purchased by the two remaining partners.  McClave & Merritt.

The second advertisement appeared on September 16, 1854.  Rees & Co., the Original Twenty-five [cent] Daguerreotypist, 385 Broadway.—this company [  ?  ] known by the above name, will hereafter be [conducted] under the head of McClave & Merritt, [the original] partners from its commencement.  They having [  ?  ] the interest of Mr. Rees.

The third advertisement appeared on September 23, 1854.  Rees & Co., the Original 25 Cent Daguerreotypist, 385 Broadway, are now taking 600 pictures daily, and will soon be enabled to take 1,000, by the aid of their new machinery and enlarged rooms, by the original partners from the commencement.  McClave & Merritt.

The fourth advertisement appeared on September 26, 1854.  The 25 cent Daguerreotype Company, 385 Broadway, so long known by the name of Rees & Co., [and] hereafter be carried on under the head of McClave & Merritt, the original partners from its commencement.  [600] hundred pictures taken daily with entire satisfaction.  McClave & Merritt, 385 Broadway.

The fifth advertisement appeared on September 28, 1854.  The original 25 cent Daguerreotype Company, 385 Broadway, so long known by the name of Rees & Co., [and] hereafter be carried on under the head of McClave & Merritt, the original partners from its commencement, who will soon be enabled to take one thousand pictures daily.

The sixth advertisement appeared on October 12, 1854.  A Daguerreotype in Case for 25 Cents.—Rees & Co., as formerly known, now McClave & Merritt, having their new and novel machine, which was exhibited at Crystal Palace, now in full operation, will in future take pictures, in case, complete, for 25 cents.

The seventh advertisement appeared  on October 13, 1854.  A Daguerreotype in Case for 25 cents, at McClave & Merritt’s, (formerly Rees & Co.,) 385  Broadway.

The eighth advertisement appeared on October 19, 1854.  Immense Success.—A Daguerreotype in Case for twenty-five cents.  McClave & Merritt, formerly Rees & Co., 385 Broadway, are now enabled, by the help of their new and novel machine, to give a daguerreotype, in a neat morocco case, all complete for 25 cents.

The ninth advertisement appeared on October 31, 1854.  A Daguerreotype in Case for 25 Cents, at McClave & Merritt’s, formerly Rees & Co., 385 Broadway, between White and Walker streets.

McClave & Merritt are listed in Craig’s Daguerreian Registry but, John does not mention that they were partners, or the connection to Rees & Co.

James Landy

1850-N.D.      289 Broadway, New York, New York.[1]                                                                                 N. D.                 233 Broadway, New York, New York.[1]                                                                      1859                145 Main Street, Richmond, Virginia.

James Landy was recorded in one announcement that appeared on December 28, 1859 in The Daily Dispatch (Richmond, Virginia).  Mr. James Landy, Chemist and Photographic Artist, of long experience in the principal Galleries of New York, has just arrived to fulfill an engagement for one year with C. R. Rees, of 145 Main street.  We suppose with this addition the Steam Gallery will be able to grind out one hundred portraits more daily.

James Landy is recorded in Craig’s Daguerreian Registry as being active in New York City in 1850 with Silas A. Holmes (for a number of years) and Meade Brothers (dates unknown). The next entry for Landry is 1863 in Cincinnati, Ohio.  It is possible that Landry first met Rees in 1852 when the company was known as Rees & Co. 1852-1854. (Charles R. Rees & Silas A. Holmes.)  Charles R. Rees left the company by March 31, 1854 to open another studio at 385 Broadway.  Silas A. Homes was active at the 289 Broadway address from 1848 to 1859 when Reade Street was enlarged.  More research needs to be done to get a clear and accurate understanding of the relationship between Rees and Holmes.  I currently have large files on both photographers, but I feel more research is needed to get a better understanding of the partnership.

[1] Craig’s Daguerreian Registry.

Silas A. Holmes

Why write about Silas A. Holmes? I knew he was important because he patented the stereoscopic camera in 1854, and while research the New York Daily Tribune I also could not help but see the similarities in the style of advertising between Holmes and other photographers like Tyler and Company and C. R. Rees.  Interesting that there is a connection and the common denominator is C. R Rees.  As I explore the time line below many question still are left unanswered about Rees and the possible partnership with Holmes.  How long did Rees stay involved with Holmes at 289 Broadway?  Did Rees take over the business after Harrison & Holmes partnership ended?  Another question is who was G. Holmes? Was this a typo or someone else operating at 289 Broadway? As I continue researching the Tribune and other newspapers I hope to answer some of these questions.

To date I know little about Holmes’ early years from the newspapers. There was an advertisement signed by S. A. Holmes, News Agent, Park Row on January 1, 1847, but there is no proof that this is Silas A. Holmes the Daguerreotypist.  John Craig[i] records him as being active in 1848-1849 at 289 Broadway in partnership with Charles C. Harrison.  I suspect that John was looking at one directory dated 1848-1849, not a single directory dated 1848, and another one for 1849.  Recent discovery in the Evening Post dated July 17, 1848 announces the partnership and gallery at 289 Broadway.  An advertisement appears on December 2, 1850 for Holmes with no mention of Harrison, and a second advertisement that appears on January 7, 1851 that he is late Harrison & Holmes.  The first newspaper accounts in the New York Daily Tribune for him was on March 26, 1851 and reads in part that he has a fine establishment with two splendid sky-lights, is long and well experienced in the art, and also stated that he charges moderate prices.

On September 13, 1851 in an advertisement in the New York Daily Tribune he states that Forty Thousand Daguerreotypes sold at Holmes’s Gallery, No. 289 Broadway, in five years.  The last line of the ad says that all the rooms are on the fourth floor of 289 Broadway, late Harrison & Holmes.  This brings up the fact that Holmes was in business at 289 Broadway in 1847.  It is unknown if the partnership with Harrison started that early but it is a safe bet that the partnership probably ended in late 1850 based on the advertisement of December 2, 1850.

The first mention (to date) of Charles C. Harrison was in the New York Daily Tribune on April 26, 1851. It mentions that Gurney is using a powerful instrument manufactured in this city by C. C. Harrison.  On October 28, 1851 an article appears about Harrison’s cameras and that he won a gold medal at the Fair at Castle Island, the following day the list of Premiums awarded at the Fair and Harrison’s address is listed at 85 Duane Street.

October 1, 1851 Holmes advertises that he has taken Daguerreotypes of the Monuments, Tombs, and Vaults in Greenwood Cemetery and that duplicate copies can be purchased at his gallery. Later that month October 29th he is awarded a silver medal at the American Institute Fair for his views taken at Greenwood.  The following day he announces that he can be found at the cemetery until he has taken pictures of the entire collection.

If you look at Craig’s work he states that Holmes was listed in New York City from 1848-1860, at 289 Broadway from 1848-1859, from 1859-1860 at 691 Broadway. He goes on to say that he was a partner in Rees & Co., Ca. 1853.  No advertisement for Holmes have been recorded between November 13, 1852 to June 2, 1854 in a partnership or alone.  His advertising has been to this point sporadic, there will be several ads in a month and then he won’t advertise for several month.  Always the advertisements only run for one day.[ii]  Craig reports that Rees was active in New York from 1853-1855.  From 1853-1855 at 289 Broadway and also listed in as being active at 385 Broadway in 1854-1855.

The first advertisement for Rees & Co. appears in the New York Daily Tribune on December 8, 1852—Rees and Co. advertise 25 Cent Daguerreotypes, No. 289 Broadway, that they are taking pictures by a new process late from Germany, with the application of machinery which enables them to take 150 pictures daily. On December 30 they advertise 150 to 300 daily.  On April 26, 1853 he advertises again—The Two Shilling Daguerreotype System originated by Rees & Co., with their new German process and power plate machine to take 300 pictures daily, proves the greatest feature in art of all modern improvements—it upsets the old fogies in the profession and the small potato clique who attempt to rival and imitate their work.  Some nude professors of model artist notoriety, who claim years of famous experience in the art, wake up amazed that a poor German gentleman with enterprise and invention, should have introduced a system of picture-making which no rival can imitate, and with which it is leading him on to fame and fortune, notwithstanding the fog and fogyism and inventions of the enemy.  Rooms No. 289 Broadway.

In a June 9th 1853 advertisement Rees states that they are doing 300 pictures daily and that they are using a German invention of machine power and rotary chemical apparatus to make their images. January 23, 1854 they are now making 400 daily pictures. March 22, 1854 advertisement—Great Improvement In Daguerreotyping.—The New York Daguerreotype Company have invented a double working Camera to take two portraits at once together with other improvements.  They are now taking 500 pictures daily, at 25 cents and upwards.  The last advertisement for Rees (by name) appeared on July 8th Wanted—The whole world of humanity to know that the first quality Daguerreotype Portraits are taken by Professor Reese, No. 289 Broadway. It’s interesting to note that there is no mention of Holms in any of Rees’s advertisements.

On May 30, 1854 Holmes was granted a patent No. 10,987 for taking stereoscope or other daguerreotypes, also referred to in advertisements as the Double Camera for taking two portraits at once. The question is what was Rees’s connection in this?  We might never know.  What is known is that the two shared the same address, 289 Broadway.  There must have been a connection or a partnership between the two based on the March 22 advertisement announcing the double camera.  The similarities in the advertisements between Rees; Tyler & Company and Holmes is hard to overlook and needs further research.  The terminology is very similar.  A lot of the advertisements found for Rees in both New York and Richmond, Virginia and Tyler also in Richmond, and in Memphis, Tennessee, use the same terminology “600 hundred (or more) taken daily” and they all are using the double camera and machine/steam power to make their images.

In the June 2, 1854 advertisement for Holmes the following ad appears. New Invention In Daguerreotyping.—By reference to the last list of patents granted May 30, 1854, S. A. Holmes, the Daguerreotypist, No. 289 Broadway, has been honored with a patent for his invention of the Double Camera for taking two portraits at once.  Rights of use, manufacture and sale of the Double Cameras for sale by the proprietor at his office.  No. 289 Broadway.

For the next several months Holmes advertises that he is taking 25 cent daguerreotypes, stereoscopic pictures and sun pictures. On March 28, 1855 he starts using the term Depot of Art to describe the gallery.  On May 2, 1855 the advertising takes a different twist—Photograph   Portraits for $1 to $5—Daguerreotypes 25 and 50 cents; Stereoscope Pictures, $1.  Taken by Holmes’ United States Patent Double Camera.  Depot of the New York Picture Club composed of 20 Artists taking 600 daily by German Steam Power, No. 289 Broadway.

On May 24, 1855 the following ad appears for the 289 Broadway address—Irish Artists—25 Cent Daguerreotypes.—Prof. Buffer of Dublin has arrived with his celebrated company of 25 Irish picture-makers, and has taken bunks at 289 Broadway for the season. Buffer & Co.

So far I have recorded 80 advertisements between June 2, 1854 – June 25, 1856. There are fifteen different ways the studio is identified.  20 times by the address only, 289 Broadway; 6 times by Depot of Art, 289 Broadway;  3 time by The Picture Factory, 289 Broadway; 1 time by the Depot of Economical Pictures, 289 Broadway;  9 times by Holmes, 289 Broadway;  1 time by the Irish Artists, 289 Broadway, Buffer & Co.; 2 times New York Picture Co., 289 Broadway; 1 time by Wholesale Picture Depot, 289 Broadway; 1 time as the Picture Company, 289 Broadway;  2 times as the Sky Parlors, 289 Broadway;  12 times as the Artist Club, 289 Broadway;  2 times as Holmes Art Depot , 289 Broadway;  3 times Depot of Machine Portraits, 289 Broadway;  5 times as Depot at 289 Broadway; and twice as G. Holmes.  What’s going on?

On August 1, 1855 Mathew Brady is the first to introduce Ambrotypes to New York.

On August 13th William Augur Tomlinson announces that he also is making Ambrotypes and that he holds Cuttings patent rights.  Repeatedly advertises this fact as Brady and others advertise that they are making Ambrotypes.  On October  11th, Holmes advertises New Discovery In Art—Portraits on Glass—Holmes, No. 289 Broadway, offers to the people a new style of Sun Pictures termed the “Lampratype”[iii]  While Holmes is not using the term Ambrotype technically they are Ambrotypes.

Several week later on November 1 the following advertisement appears. $200,000 have been saved to the people, and the subscriber has made a fortune out of the Original Twenty-Five Cent Daguerreotypes, No. 289 Broadway, and he will now sell the entire Picture Factory to any responsible party and retire from the interesting excitement appertaining to Life in a Daguerreotype Room.  Holmes.

It’s not known if Holmes sold his gallery, the advertisement ran only one time, according to Craig he was listed at 289 Broadway until 1859, in addition his name does appear on the advertisements after this date. The real question is does C. R. Rees have anything to do with the gallery after 1855?  In correspondence with D. A. Serrano author of an article entitled Southern Exposure! The Life and Times of C. R. Rees & Co.  One of Rees’s expressions is the word fogyism which appears several times the last appears on November 24, 1855.  One hundred years ahead of time—Daguerreotypes—one shilling—No. 289 Broadway—the revolutionary community of picture makers, and headquarters of the Artists’ Club, composed of twenty members, who repudiate, fogyism and borrowed thunder.

I had the opportunity to look at five New York City Directories 1856-1857; 1857-1858; 1858-1859; 1859-1860 and 1860-1861. Unlike most of the directories from Massachusetts there was no business directory, but there were a few advertisements.  First looking in the residence listing for Silas A. Holmes  1856 directory list him as a Daguerreotyper at 289 Broadway; 1857 as an Artist, 289 Broadway; 1858 as a Photographer at 289 Broadway; 1859 he is listed as gallery, 691 Broadway, late 289 Broadway; and the 1860 list him as photographs 395 Broadway.  No advertisements were found in the city directories for Holmes in the 1856-1859 directories.  The 1860-1861 directory for The Holmes Gallery Of Photographic Art, 691 Broadway, New York.  Photographs, Daguerreotypes, Ambrotypes, Miniatures in Oil;, Ivorytypes, Cameotypes, &c.  Stereoscopic Portraits of Family Groups taken as they appear in their own Parlors, Gardens, or Parks.  Portraits of Private Residences, Houses, &c. taken to order. G. D. Morse, Proprietor.

The research continues…as new information is found I will update the blog…I am working on the July 1856 issues of the New York Daily Tribune.

 

Activity Dates:

Silas A. Holmes

Ca. 1847-1859                   289 Broadway, New York, New York.                                                         1859-1860                          691 Broadway, New York, New York.

Charles R. Rees

*[iv]

1850                                    Address Unknown, Cincinnati, Ohio.[ii]

1851                                    Corner Main & Eighth Street, Richmond, Virginia[V]

1852-1854                          289 Broadway, New York, New York.

1854-1855                          385 Broadway, New York, New York.[iv]

1857-1859                          139 Main Street, Richmond, Virginia.

1858                                    39 Sycamore Street, Petersburg, Virginia.

1858                                    Address unknown, Memphis, Tennessee.

1859                                    145 Main Street, Richmond, Virginia.

 

[i] The reason I often cite John Craig’s Daguerreian Registry is that he like all of us who worked on photographic directories in the 1980 & 90’s we checked, verified and recorded all the various sources that were available to our specific state or area of interest.

[ii] This is an ongoing project and only a few of the New York newspapers (to date) have been reviewed.  Advertisements found for daguerreians in the New York Daily Tribune on average usually only advertise a single time. There are the occasional exceptions Gurney & Fredericks advertise every other day for several week up to a month or so at a time, also Samuel Root’s gallery possible after he left for Iowa in 1855 would advertise the same advertisement for several days and weeks in a row.  Several others Gurney, Tomlinson, Welling and others have advertised two or three times in a row. 

[iii] The Lampratype.  A new and ingenious plan has been devised and successfully carried into practice by Mr. S. A. Holmes, of New York, of rendering Ambrotypes much darker in the dark portions of the picture, and whiter in the white portions. For distinction, he has named them Lampratypes. Information from Ambrotype Manual: A Practical Thesis On The Art Of Taking Positive And Negative Photographs On Paper And Glass, commonly known as photography, in all its branches.

[iv] The Daily Dispatch. (Richmond, Virginia.)  May 5, 1859, Vol. XV, No. 107, P. 2.  Old Rees has had 17 years experience in New York, Boston, Philadelphia, Charleston, New Orleans and Cincinnati….

[v] Article Southern Exposure!  The Life and Times of C. R. Rees & Co. by D. A. Serano.

[vi] Information from Craig’s Daguerreian Registry.

Tyler & Company revisited

While in my opinion Tyler & Company are not in the top echelon of photographers operating in America during the first twenty years. Their advertisements would lead you to believe that they were.  In researching the Memphis Daily Appeal newspaper. In which I have access to the latter part of the project from January 1857 through December 1859 and beyond. Fortunately, or unfortunately Tyler and Company fit into this time slot during their stay in Memphis.  Like in Richmond their modus operandi is the same, they brag that they are better than everyone else, that their accomplishments are better, and that their gallery is the finest in the State that they have won many awards and have 16 years of experience.  Again like Richmond they undercut the other photographers’ prices and start fights in their advertisements with their competitors.  In reviewing the files they have advertised more in 15 months, (October 1858 through December 1859) then all the other photographs put together in 36 months.

On October 17, 1858 their first advertisement appeared in the Memphis Daily Appeal.

Tyler & Co. Give notice to the public of Memphis that they have opened an extensive Sky Light Depot of Art at 219 Main Street, opposite Odd Fellows’ Hall, for the purpose of introducing a new and original plan of Picture Making.  It consist in taking at the rate of 300 pictures daily, and being enabled to make fine Ambrotypes for 75 cents, the same as others charge $2 for. Ladies and gentlemen who visit Tyler & Co.’s Gallery, can be assured of receiving the best of treatment and the highest satisfaction in point of good work.  Tyler & Co., have had 16 years’ experience in their profession, and enjoy a celebrity worldwide throughout the Union.  They make all the various styles of pictures at prices ranging from 75 cents to $1, and also introduce the Vitreotype[1], a picture heretofore unknown in Memphis.  Call and see the new Gallery.

As stated above there are many similarities between their advertisements in Richmond and Memphis. “They still keep it before the public” their words.  Meaning that they advertise most every day often there are multiple entries of between one paragraph, or more often than not three to nine lines consisting of a sentence or two in the same Business Notices or the Local Matters columns.  The overall tone of the advertisements seems to have become more reserved then in Richmond, they are still making claims that they have the finest and largest gallery in the state.  In Richmond they continued to say that they made 400 to 800 portraits daily and sometimes as high as 1,000 a day.  In Memphis they are consistent throughout their stay at 300 portraits taken daily.  From October 17, 1858 to January 4, 1859 their prices stay the same at 75 cents to $100.  On January 5, 1859 they lower their prices to 50 cents to $50.

Tyler and Company use several name to describe their gallery. Sky-Light Depot of Art; Tyler & Co.’s Gallery; Young America Picture Depot; Big Depot of Art; Locomotive Picture Depot; Great Depot; Great Depot of Art; Tyler & Co.’s Gallery of Art; and Great sky-light Daguerreotype Depot and Emporium of Art, Beauty and Fashion to name but a few.

There seems to be a double standard in the way that Tyler & Co. attacks their competitors…their work is inferior, their images cost too much, they will fade or rust…when the other photographers voice their opinion of them, Tyler and Company often attack back “Don’t be deceived by the bombast of their rivals. The fogyism they exhibit in the newspapers, shows their envy of Tyler & Co.”  They never really answer the other photographers’ accusations.

In trying to tie up the record for Tyler and Company in Memphis I searched the latter part of 1860 knowing that Tyler and Company only stays in one location for two or three years at the most, see below for activity dates. They also probably were not in the South during the Civil War, since the first hard dates for them was 1853 in Boston, which would mean that they probably had northern sympathies. In addition Edward M. Tyler is recorded as being in Providence, R. I. in 1860 and in Newport, R. I. in 1865.  The last advertisement found was on October 11, 1860 and reads Tyler & Co. attend personally to their visitors, assisted by a corps of talented artists.

To confuse the time line more, two days later on October 13 the report of the Shelby County Agricultural Fair is published.  It list for Best Daguerreotypes, $5, O. H. Tyler; Brandon & Crater received a certificate.  Than on October 19 the following appears

Premium Daguerreotypes.—We will willingly correct an error which in the hurry of reporting the premiums awarded at the late fair, we, with other reporters, fell into, copying the list of premiums from the Secretary’s books. We reported Tyler & Co. as having received the premium for best daguerreotypes, and Brandon & Crater the certificate.  We understand from a member of the latter firm that the premium was awarded to them instead of O. H. Taylor & Co.  Since no first name was ever used for Tyler & Company in the Richmond or Memphis newspapers it is unclear if O. H. Taylor is another typo or do we have a clue as to who Tyler is.  At least in Richmond it was suggested that there was at least two Tyler’s running the gallery. Possibly Edward M., or O. H.?

Unlike John Plumbe, Jr., Jesse Harrison Whitehurst, and Thomas Jefferson Dobyns who had multiple galleries operating at the same time Tyler & Co. appears to open one studio and then moves on after a couple of years. This may not have been the case while they were in Richmond and Petersburg, Virginia where they seem to be operating both galleries at the same time.

A side note Charles R. Rees who worked for Tyler & Company, in the Richmond and Petersburg Galleries and possibly in several other locations, took over their Richmond Studio and made reference to sending ambrotypes to a new gallery in Memphis. On October 23, 1858 the following appeared in the Richmond Daily Dispatch. “We understand the reason that Rees & Co. have no Pictures on exhibition at the Mechanics’ Institute, is partly owing to their not having had time to arrange them in time for competition, and having just sent about 200 specimens of their new style of Ambrotypes to Memphis, Tenn., for the opening of a new Gallery. We are certain that their new style of Pictures would be much admired at the Institute.”

This opens a whole new line of questions. On May 5, 1859 in the Richmond Daily Dispatch the following appears….Old Rees has had 17 years experience in New York, Boston, Philadelphia, Charleston, New Orleans and Cincinnati…. Did Rees work for Tyler & Co. in those locations? We know that Tyler and Company was in Boston and Charleston, and they claim they were in New Orleans and in Cincinnati, there was a James Tyler & Co. in 1857.  No hard evidence has been found at this time that Tyler & Company were in New Orleans, New York or Philadelphia.  John Craig does list Rees in Craig’s Daguerreian Registry as being in Richmond and in New York. What is the connection with Tyler & Company in Memphis?  Is he a partner?  No advertisement, articles or notices were recorded in the newspaper for C. R. Rees that I have found to date.

To throw another twist to the relationship with Tyler & Company there is a Rees, Blodget & Company in Worcester, Massachusetts at the same time that that Tyler & Co were there. There are no first names attached to the company so it is unclear if this could possibly be C. R. Rees or not…  The advertisements are a standard attack by their competitors. Two advertisements follow.

October 18, 1855 in the Worcester Daily Spy. Take Notice!—Opposition to Steam Daguerreotypes, taken by a new American discovery, for only 25 cents, warranted to be of the best quality, and satisfaction given.  Something less than 500 taken daily.  No connection with the steam whistle, next door.  Rees, Blodget, & Co, artists.  Piper Block, Main st.

October 19, 1855. Rees, Blodget, & Co. do not take Daguerreotypes by steam, as their noisy competitors boast to do, but at the same time give all who visit them good portraits, and at a quick rate, for 25 cents.  Rees, Blodget & Co. have opened their rooms at Piper’s Block, bent upon blowing up all steam boilers in the vicinity, if they burst themselves in doing so.

While reading through the Memphis Daily Appeal newspaper the following item appears.  It’s not directed by name specifically to Tyler and Company, nor is it signed, but by the tone and history of Tyler & Co.’s advertisements it is conceivable that a rival had it published.  This is pure speculation on my part and I really try not to do that.  There is a quote that I’ll end with that I try to live by, but in this case it sounds so much like them that after days of consideration I decided to include it here.  It was published on November 17, 1858 exactly one month after Tyler & Co.’s first advertisement appears in Memphis papers.

What sort of an Animal a “Snob” is.—Thackeray thus daguerreotypes this animal. He is speaking of English society:

“A snob is that man or woman who are always pretending before the world to be something better—especially richer or more fashionable—than they are. It is one who thinks his own position in life contemptible, and is always, yearning and striving to force himself into one above, without the education or characteristics which belong to it; one who looks down upon, despises, and overrides his inferiors, or even equals of his own standing, and is ever ready to worship, fawn upon, and flatter a rich and titled man, not because he is a good man, a wise man, or a Christian man; but because he has the luck to be rich or consequential.”

The quote that I mentioned is by John Drydan and holds as true today as the day it was written. “We find but few historians of all ages, who have been diligent enough in their search for truth; it is their common method to take on trust what they distribute to the public, by which means, a falsehood once received from a famed writer becomes traditional to posterity.”  This is the one reason why in my research I document everything and give a source of where the information comes from.

Tyler & Co. Activity dates and addresses.

N.D.                 Address Unknown, New Orleans, Louisiana.[2]

1853-1855       2 Winter Street, Boston, Massachusetts.[3]

1855                 Main & Front Streets, Worcester, Massachusetts.[4]

1854-1856       Address Unknown, Charleston, South Carolina.[5]

1857-1858       139 Main Street, Richmond, Virginia.[6]

1857-1858       39 Sycamore Street, Petersburg, Virginia.[7]

1858                   Canal Street, New Orleans, Louisiana.[8]

1858-1860       219 Main Street, opposite Odd Fellows’ Hall, Memphis, Tennessee.[9]

1860                81 Westminster Street, Providence, Rhode Island.[10]

[1] Their name for Daguerreotypes.

[2] Richmond Daily Dispatch

[3] Directory of Massachusetts Photographers, 1839-1900 and Boston Morning Journal

[4] Worcester Daily Spy

[5] Partners with the Sun South Carolina Photographers 1840-1940.

[6] Richmond Daily Dispatch.

[7] ibid

[8] ibid

[9] Memphis Daily Appeal.

[10] Craig’s Daguerreian Registry.